With the release of Speculative Fiction 2013 looming, editors Ana Grilo and Thea James have announced the duo responsible for assembling the 2014 volume of the non-fiction essay collection: Renay and Shaun Duke. Excellent choices, if I do say.
One of the major components to the SpecFic collection series, as originally envisioned by creators Justin Landon and Jared Shurin, was to ensure a fresh take on online SFF conversation by featuring rotating editors every year. Renay and Duke mark the third pair of editors to work on the series. Grilo and James feel that their unique backgrounds offer a compelling opportunity for the series. “We strongly believe that Renay and Shaun’s different backgrounds – fandom and academia – can make for a really interesting editorial dynamic,” they said in the announcement.
Renay has been writing SF and fantasy fan fiction, criticism, and commentary since the early 1990s. She serves as staff within the Organization for Transformative Works, co-edits a media criticism blog, Lady Business, and writes columns for speculative fiction magazine Strange Horizons.
Shaun Duke is an SF/F writer, a critic, and a PhD. student at the University of Florida studying science fiction, Caribbean literature, and postcolonialism. He currently blogs at The World in the Satin Bag, and is a host on The Skiffy and Fanty Show, an SF/F podcast which is currently running its World SF Tour.
“We selected Renay and Shaun as editors for several reasons that go beyond their awesome bios,” said The Book Smugglers, editors of the 2013 volume. “Namely, we admire their writing and the thoughtful ways that they engage with the speculative fiction community. We’ve been following Renay’s online endeavors for years and it’s safe to say that she’s been an incredible source of inspiration for The Book Smugglers and the way we engage in criticism. Similarly, Shaun never fails to impress us with his thoughtful, well-researched and articulate take on SFF books, films, and his contributions to important SFF community discussions.”
Has death and destruction ever been so cherubic? These men of Westeros are another reason that I think Olly Moss deserves a spot on this year’s Hugo ballot.
Olly Moss is an English artist known for his inventive re-imaginings of famous movie posters, and his involvement with Campo Santo, a videogame development studio whose first game, Firewatch, was recently announced.
The Goblin Emperor
Publisher: Tor Books -
Pages: 448 -
Once upon a time there was a book. In the first twenty pages it had like a bajillion names, several dozen instances of archaic speech patterns, and quite a bit of moping. I was instantly willing to hate it. But, because I’m a true critic of the arts, I continued. Also, because I can’t really beat a book up unless I finish it, right? I admit to doing this on occasion. However, as I continued to read Katherine Addison’s The Goblin Emperor, I became enthralled. What was off-putting became second nature and beneath it was revealed a gorgeous narrative, a lush world, and dozens of fascinating characters. While there remains an absurd indulgence in complicated naming mechanisms, Addison’s fantasy novel rates among the best I’ve read.
Katherine Addison is a genius
Every book has a story, and The Goblin Emperor‘s begins long before it was published. Katherine Addison is actually Sarah Monette, a critically acclaimed author of four novels for Ace Books. Unfortunately, those books didn’t sell very well. The Goblin Emperor was submitted to Ace and rejected, forcing Monette to shop the project elsewhere. Purchased by the Jim Frankel (who has had some problems subsequently) at Tor, the novel found a home. Monette became Katherine Addison because bookstores aren’t big fans of authors who don’t sell real well, but are easily mollified with byline changes. I mention this because I have no idea whether Monette can write her way out of a paper bag, but Katherine Addison is a genius and Ace should be totally bummed they didn’t buy The Goblin Emperor. Read More »
I would see queer romance in a different, more nuanced light, complete with a historical perspective that both undercut Card’s work and crystallized the notion of real-world men who loved each other with their bodies as well as their minds.
Hello A Dribble of Ink! I am David Edison, author of The Waking Engine and editor of GayGamer.net, and I am dribbling my ink all over you. Aidan has asked me to talk about my experiences with inclusivity in the gaming world, which is a great chance to look at the differences and similarities with the equivalent challenge in the world of speculative fiction. I’ll apologize in advance for being unscholarly and scatterbrained: these are, of course, sprawling and complex dynamics, and a genuine analysis is beyond both the scope of a blog post and the capabilities of yours truly.
Let’s start with the idea of finding yourself reflected in the creative works you consume. From my personal experience: I encountered a representation of my own queerness in speculative fiction well before I encountered it anywhere else in our culture, especially games. Orson Scott Card’s Songmaster hit me like a ton of bricks at nine, maybe ten years of age. (There is irony to be found there, of course, which is its own post, methinks.) The pedophilia went right over my young head (paging Alanis Morissette and her 10,000 not-actually-ironic spoons, and yet another blog post), but what mattered to me then, as now, was the love. Only a few years later, when I read Mary Renault’s stunning historical novels like Fire from Heaven, The Mask of Apollo, and The Persian Boy, I would see queer romance in a different, more nuanced light, complete with a historical perspective that both undercut Card’s work and crystallized the notion of real-world men who loved each other with their bodies as well as their minds.
For a young queer man, especially a reader, discovering multiple sources of my own nature (which I had realized at a much younger age than 9 years old, though I did not have the words for it) was a lifeline: suddenly I was a part of the world. Moreover, I could decide between different representations of myself and begin building an identity in concert with reality, rather than wondering if perhaps, to my horror, I might be the only one. Read More »
Gollancz announced today that they have acquired a two-volume Space Opera from award-winning author (and A Dribble of Ink-favourite) Elizabeth Bear. The first volume is titled Ancestral Night.
“I’m thrilled to be writing long-form SF again,” Bear told me when I reached out to her to find out more about the novels.
“I’ve been looking for the opportunity to get back into science fiction for some time,” she continued. “Ancestral Night is in its own mode, but deeply beholden to the work of Iain Banks, Andre Norton, and C. J. Cherryh. Expect sprawling conflicts, politics, and ancient alien technologies, all wrapped up in a package of gritty, grounded personal drama.”
Details are scant at the moment, but the Gollancz announcement about the acquisition contained an early peek at what readers can expect.
Combining a unique concept with a compelling plot, Elizabeth Bear’s novels imagine the invention of The White Drive: an easy, nonrelativistic means of travel across unimaginable distances. The gripping story follows salvage operators, Haimey Dz and her partner Connla Kurucz, as they pilot their tiny ship into the scars left by unsuccessful White Transitions, searching for the relics of lost human – and alien – vessels.
“We’re always looking for exciting new voices in SF,” said Simon Spanton, Associate Publisher at Gollancz, “Sometimes that voice is already there but hasn’t broken through in a particular market. Elizabeth’s novels have always fizzed with ideas, passion and character. The chance to publish a new SF novel from her and welcome her to Gollancz is one I absolutely relish.”
Ancestral Night is currently scheduled for a late 2016 release.